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Volume 1 4 
Number 1 

Remembering Guillermo Holguin 

Robert Sabuda and 
Guillermo Holguin, 2003 

From 1968 to 2000 most of the notable pop-up books 
were printed and assembled in South America. Thus, it 
was something of a surprise when the Board of Directors 
of Cargraphics, a Carvajal Group Company located in 
South America, announced in 2002 that it had 
discontinued its Hand Labor operation, better known as 
"The Pop-up Book Division." This announcement 
reflected the increasing competition from printers in Hong 
Kong and China and it marked the end of an 
unprecedented era in pop-up history. Theo Gielen, writing 
about the 2000 Frankfurt Book Fair, reflected on this 
development and stated "Mark my words, in a short time 
we will find remarks like 'produced and hand-assembled 
at Carvajal, Colombia' in the descriptions in antiquarian 
bookseller's catalogs as a special recommendation of the 
quality of the offered item (and as an argument for added 
value).'" Guillermo Holguin headed that operation and 
was responsible for its success. People who knew him and 
worked with him contributed to this article honoring him 
and his place to the history of pop-up book production. 

Who was Guillermo Holguin? 
Waldo H. Hunt 

He was born on November 1 3, 1 944 in Cali, Colombia 
and died June 1 1. 2004 in Coral Gables, Florida. 

Guillermo was a printing entrepreneur. When he 
graduated from the University of Chicago and returned to 
Cali, he was instantly hired by Carvajal, the leading 
printer in Colombia. 

Continued on page 2 

Frankfurt Book Fair 2005, Part 2 

Theo Gielen 
The Netherlands 

At the 2005 Frankfurt Book Fair the established 
packaging companies showed more-of-the-same kinds of 
titles from their top-selling authors. Derek Matthews 
modestly added one Snappy Little Babies (1-8401 1-376-6) 
to his series of Pop-up Fun books. Snappy Sounds Spooks ( 1 - 
84011-035-X), with scary sounds, is new to the series of 
Noisy Pop-up Fun books, all published by Templar 
Publishing. His Snappy family of dozens of pop-up titles, 

said to have sold now over 
1 million copies worldwide, 
was widely promoted during 
the 2005 holiday season with 
a series of events and 
workshops by Mr. Matthews 
in the UK. Last year's large, 
pink, purple and turquoise 
Princess Palace has a sequel 
this year with Templar's 
colorful Santa s Workshop 
(1-84011-182-8) illustrated 
by Susanna Ronchi. It has a 
built-in gift chute and ladder 
and press-out characters, and 
is especially eye-catching 
because of its size (about 40 
x 26 cm.). The book also has 
a handle for easy carrying, and an exuberance of flocked 
snow and trimmings, gold wrapping string, glitter, and foil. 

Very seasonal, also, is 
their One Snowy Night ( 1 - 
84011-627-7) by Beth 
Harwood, also illustrated 
by Susanna Ronchi. With 
four, three-dimensional 
scenes done in a shadow- 
box technique of either 
three layers or four layers, 
it shows different animal 
families getting ready for 
Christmas. Embossed 

throughout with glitter, UV varnish on its cover and 
interiors, and a ribbon tie with jingling bells, it surely will be 
loved by collectors of Christmas pop-up books. 

Continued on page 7 


The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication ofTJie 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. Tlie index to past issues 
o/Movable Stationery is available at: 

http://www.rci. rutgers. edu/~montanar/mbs. html 
The annual membership fee for the society is $20.00. 
For more information contact: Ann Montanaro, The 
Movable Book Society ; P.O. Box 11654, New Brunswick, 
New Jersey 08906 USA. 

Daytime telephone: 732-445-5896 
Evening telephone: 732-247-6071 
e-mail: montanar@rci. rutgers. edu 
Fax: 732-445-5888 

The deadline for the next issue is May 15. 

Guillermo Holguin, Continued from page 1 

I met him on my exploratory visit to Cali but got better 
acquainted when he and his bride Olga Guitierrez visited 
my Kansas City home and the Hallmark offices in March 
1970 on their honeymoon. 

Guillermo had the courage to accept the job of 
producing two pop-up Disney books for international 
distribution. Carvajal was a good printer but had never 
produced 1 00,000 pop-up books with 60 glue points each. 

Guillermo started with 28 girls in Cali and two weeks 
later leased an old convent in the little town of Popayan 
and hired 100 girls to assemble the Disney books. That 
important group of hand assemblers grew for 30 years and 
eventually reached 1,200 girls working in new plants in 
Popayan and Santander. 

Carvajal quickly learned to support the pop-up book 
division led by the company chairman, Jamie Carvajal. 
Jamie was one of the 10 brothers that inherited and ran 
Carvajal Enterprises. The founder, Manuel Carvajal 
Valencia started the primary printing business with a 
hand-operated press in 1904. The paper was imported 
through the west coast port of Buenaventure and taken by 
mule train 1 50 miles over the Andes to Cali. 

Here are some of the memorable jobs Guillermo produced 
for Intervisual Books, Inc.: 

The Haunted House, 1978. Jan Piehkowski's best-selling 
pop-up book, 1.2 million copies printed to date. (Plus 17 
additional Pierikowski titles.) 

Peter Rabbit, 1982, Beatrice Potter's best-selling pop-up 
book, 400,000 copies printed. (Plus 18 additional Potter 

The National Geographic Series. Starting in 1984, eight 
elegant pop-up books featuring the world's animals in their 
pop-up environments. 260,000 average printing for each title 
in the series. 

Wheels on the Bus, 1991. Paul O. Zelinsky's best-selling 
pop-up book. 420,000 copies printed. 

Ten pop-up Disney classics. Starting in 1992, Snow WIrite, 
The Lion King, Pocahontas, Beauty and the Beast, etc. 
300,000 average printing for each title. 

In addition there were also special printings: 

5.5 million pop-up magazine inserts for Transamerica that 
appeared in Time magazine in 1 986. 

The first talking magazine insert in Business Week in 1989 
advertising a new sound module for Texas Instruments 

Guillermo was a joy to work with. We solved problems 
quickly since we were virtually living a partnership. I flew 
to Cali a dozen times and he to Los Angeles 40 times. We 
attended major book fairs in Frankfurt, Bologna, and the 
United States every year for 28 years. We ran the hotels out 
of business. When I visited Cali alone, I stayed in his home, 
and when he was in Los Angeles, we had a spare room for 
him in our home. 

We constantly worked on ways to economize and improve 
the quality of the job. One of the big jobs was to keep the 
hand assembly plants busy all the time. Our production 
department was constantly coordinated with the hand 
assembly schedules in Colombia. Guillermo, the printing 
entrepreneur, kept his customers happy with high quality 
performance by maintaining constant control of printing, 
hand assembly, and shipping in Colombia. 

Guillermo set-up and managed the hand assembly 
plants, supervised the quality of the printing, and worked 
hand-in-hand with Jamie, Alfredo, and Alberto Jose to 
master the art of being a major international printer. 

In 2002 Carvajal decided to discontinue the pop-up and 
movable book business. A dozen printers in China, 
Indonesia, Thailand, and Singapore had entered the business 
and could offer big savings on hand assembly. Guillermo 
Holguin and his right-hand man Guillermo Palao, made this 

We worked for 30 years to produce 120 million 
movable children's books which were shipped to 32 
countries around the world. Some people say we played an 
important part in re-awakening a dormant industry. 

Guillermo died from cancer in the arms of his adoring 
family: his wife Olga, his daughter Olga, and his son 

The Holguins are a family of doers. Guillermo's 
cousin, Carlos Carvajal, is the president of the Colombian 
Legislature in Bogata and Guillermo's great-grandfather, 
Carlos Carvajal, was a President of Colombia. 

Working with Guillermo Holguin 

Guillermo Palao 

Carvajal S.A. - Mancol (Pop Up Books) Division 

All of us who knew Guillermo Holguin know he was 
the best at combining a "very unique" sense of humor with 
his great human heart for his family, friends and 

The pop up book world was his passion and together 
with his love for these books was his professional 
relationship with all whom he dealt with. Paper engineers, 
artist, designers, preliminary studies, production, sales 
and almost everyone involved in the creation and 
production of novelty books enjoyed the leadership and 
support of Guillermo. We were always injected with his 
permanent energy, leading us to believe in being the best 
team working on pop ups. 

Guillermo Holguin wasn't only the best leader we had 
for producing pop ups; he has left us, his worldwide 
"partners" many valuable memories and teachings. We 
can personally say his experience, knowledge, 
perseverance, and kindness will be forever engraved in our 
hearts as one of the people who has most influenced our 
professional careers as well as having been a very dear 
friend for us and our families. 

Guillermo will be impossible to forget and we know he 
continues to be with us in spirit, sharing our daily 
concerns and enjoying our achievements as he always did 
when we had him with us. 

Tribute to Guillermo Holguin 
Robert Sabuda 

In 1995 1 stepped off a plane in Cali, Colombia and 
was greeted by a man who would change the course of my 
life. He was warm and kind and when he spoke (oh, so 
smoothly), it seemed as if he had known me forever. 

Guillermo Holguin shook my hand and led me into the 
world of pop-up books. 

At the time, I knew absolutely nothing about the printing, 
die cutting, or hand assembly of pop-up books. But 
Guillermo was the most patient of teachers. Not only did he 
share with me all the details of the craft, but he taught me 
how to become a professional. He was courteous, always 
deferential, and extremely quick witted. When I watched 
him in any setting, those in the room would always look to 
him with respect and admiration. I vowed I would try to be 
more like him in my professional life, a commitment I have 
kept to this very day. 

But one of the most profound memories I have of 
Guillermo is watching him dance with his beloved wife, 
Olga, late into the Colombian night. It was customary after 
a long day's worth of work at the hand assembly plant to go 
out to dinner and, sometimes afterwards, dancing. Guillermo 
would whirl Olga across the floor and hold her so close it 
would seem as if they were one person. I don't ever recall 
seeing someone enjoy the richness of life so much. For 
Guillermo, each moment was truly precious. 

He was a good friend and, in many ways, a father figure 
to me when I was still an in infant in pop-ups. I know I can 
speak for the entire paper engineering community when I 
say how deeply and terribly he will be missed. Without 
Guillermo Holguin, the pop-up world as we know it today 
would not exist. 

Guillermo Holguin Tribute 
Roger Culbertson 

I met Guillermo Holguin in 1979. That was the year that 
Intervisual Communications (later to become Intervisual 
Books) offered me job as production coordinator for its 
overseas pop-up book production. 

I had just moved to Los Angeles from Starkville, 
Mississippi and was working at the Los Angeles Times doing 
page makeup. One afternoon a coworker brought in this 
amazing pop-up book, Haunted House, which was for years 
the top selling pop-up book. I was absolutely mesmerized by 
this book. 

I had never seen a pop-up book as a child. My parents 
had illustrated coffee table books about American history 
and world art. For Christmas and birthdays, my presents 
were books by John Steinbeck and Ernest Hemingway, Moby 
Dick, with an occasional Sherlock Holmes mystery thrown 

A week after marveling over this pop-up book, I received 
a call from Intervisual Communications, a company I had 

never heard of, to come in for an interview. I had sent in 
my resume in response to a help wanted ad for a paste-up 
artist for children's books. The powers that be at 
Intervisual saw my resume and decided I would be a good 
candidate for their position as production coordinator of 
the overseas production of their books. 

When I sat down for the interview, Paul Heneisse, head 
of the production department, said, "Well, here's what we 
do." He picked up the Haunted House pop-up book from 
his desk and showed it to me. I accepted the job offer. 

One of my duties was to read the telexes every morning 
for any production issues (there were no such thing as fax 
machines yet). I had never seen a telex used for business 
correspondence before. Along with the telexes from the 
publishers all over the world, there was a daily telex from 
Carvajal, the pop-up manufacturer in Colombia, South 
America. Since telexes are printed from a roll of paper, 
there would be about 60-70 feet of telexes each morning 
when I came into work. The portion from Carvajal was 
usually about 20 feet of that, summarizing the status of all 
the books in production, current shipping information, 
upcoming print runs with reports on what translation 
films were in from which countries, what approvals were 
in, and what material was still needed. The signoff at the 
end of the Carvajal telex was always the same (in telex 


For months, telex chatter was my relationship with 



PORT 1 1/20. DOCS SENT 10/20 VIA AWB 3884900. 

It's not the sort of communication style that lends itself 
to getting to know someone, but after a few months with 
this daily electronic pen pal, 1 felt an odd closeness to this 

1 was in the middle of a massive learning curve. My 
previous production tracking experience had been in- 
house agricultural research publications. This was a new 
ball game. My duties included reviewing press sheets and 
comparing them to the proofs we received from the film 
house. They were never the same. Colors weren't exact, 
knockouts (for gluing) were changed, and pieces were 
moved. 1 would detail all of these in the next telex, and 

Guillermo would patiently respond, explaining the 
differences between proofing presses and printing presses, 
why knockouts were moved because the die book we 
provided as an assembly guide didn't properly translate to 
hand-assembly production demands, and why the production 
staff at Carvajal re-stripped the films so that the revised 
pieces nested more properly on the sheet. 

Another of my duties was the review the final production 
sample of each book, comparing it to the die book we 
provided to Carvajal with the final films. Once again, there 
was never a match. I would find as many as a dozen 
changes. The fact that the pop-ups all worked properly 
didn't seem to occur to me. My job was to note all the 
differences and advise Carvajal (i.e., Guillermo), which I 
dutifully did. Guillermo, again, would patiently respond that 
the changes were made so that the book could be properly 
produced on a hand-assembly line. I learned from Guillermo 
that you couldn't expect an assembly worker to position a 
frog's leg on the frog's body by putting it where it looks 
good. You must have position guides, either by shaping the 
glue tab to match the outline of the frog's body or by using 
position pins (tiny pin-size holes punched into the paper 
during the die-cutting process) so that the piece is positioned 
the same way every time. I learned from Guillermo that you 
couldn't expect an assembly worker to hold a piece in 
position until the glue dried, that all pop-up pieces must be 
able to be glued in a flat position so they can be stacked 
while the glue dries. 

The mass-produced pop-up industry was still in its 
infancy. The books were getting bigger and more complex. 
Sales were growing rapidly. The art staff was overworked 
and the pressure to get books "out the door" was intense. 
Intervisual was great at selling pop-up books, and the 
creative department could design books very well, from the 
standpoint of the art of paper engineering, but, as I learned 
from Guillermo's patience and tutelage, no one had a clue 
about how to produce a pop-up book — in other words, 
designing a pop-up book that could be correctly assembled 
with no mechanical problems. Guillermo's staff had been 
correcting all the mistakes that had been dumped on them 
for years. I vowed to correct this, and thanks to Guillermo, 
I feel like 1 did. 

Years later, when I founded Designimation, I trained all 
our paper engineers to design the books from the very first 
cut with built-in position guides and construction techniques 
that matched assembly-line conditions. Designimation has 
never had an assembly problem in production, and no 
changes have ever been required to our die books. I will 
always be grateful to Guillermo for that. 

A few months after I started with Intervisual, Guillermo 
made one his regular trips to the US. This caused a flurry of 
activity in the office. In those days there was no reliable 

package delivery to Colombia. FedEx didn't serve 
Colombia at that time and DHL only carried documents. 
Whenever Guillermo came to town, he left with month's 
worth of films, assembly dummies, costing dummies, and 

Guillermo walked into the office with, in those days, a 
full head of wavy hair, wearing a designer suit, and 
looking like he would be more at home starring in a prime 
time novella on Telemundo. Guillermo always began his 
visits by walking to every desk in the predominantly 
female office, taking each hand, and saying in his deep 
baritone voice that reminded me of a late-night FM disc 
jockey on a Spanish romantic hits station, "Hello-o, 
Becky, how are you today? It's so-o good to see you 
again." The women would be close to swooning. I believe 
every one of them would have, in an instant, left their 
husbands if they thought they had half a chance. Antonio 
Banderas had nothing on Guillermo Holguin. 

In the ensuing years, I moved into the art department 
at Intervisual, and Guillermo moved up the ladder at 
Carvajal, so neither one of us was involved in daily 
production matters anymore. Over the years, we had 
numerous nostalgic dinners in the US and Colombia, and 
I always looked forward to our few minutes together at the 
book fairs in Frankfurt and Bologna. 

Undoubtedly, there still would have been a pop-up 
industry without Guillermo Holguin, but it very definitely 
wouldn't have been the same. 

Thank you, Guillermo. I miss you. 

Movable Stamps 

Theo Gielen 

On the occasion of the opening of the Olympic Winter 
Games in Turin, the Dutch postal service, TPG Post, issued 
what they claim to be the world's first movable stamps. In 
early February two special stamps came out, both showing 
well-known Dutch ice skaters who each won three gold 
medals in a single year: Ard Schenk in Sapporo, 1972, and 
Yvonne van Gennip in Calgary, 1988. To show the 
sports(wo)men "really" skating when the stamps are moved, 
12 movie sequences of their races were needed and an 
innovative lenticular technique was specially developed by 
the Dutch technology company of Atos Origin. An added 
problem for the design was the small format of a stamp, and 
that complicated the display of the details. In addition, there 
was a special synthetic material needed as a bearer of the 
movable picture since the technique didn't fit on paper. 
Therefore, the printing had to be done "down-under," in 
Australia. The result however is really astonishing. Maybe 
this is a new subject to collect? 

Peeps into Nisterland 

2005 Notable Book 

Congratulations to Robert Sabuda and Matthew 

Reinhart on the selection 
of their Encyclopedia 
Prehistorica: Dinosaurs 
as a New York Times 
Notable Book of 2005. 
The reviewer wrote: 
"Don't just look at the 
brilliantly designed and 
executed pop-ups of more 
than 35 dinosaurs; the 
engaging text is also a 
great introduction to 
everyone's favorite 
extinct creatures." 

In June, a long-awaited book about Ernest Nister will be 
available. For over 20 years the authors Julia and Frederick 
Hunt, from Chester, U.K., have collected and researched the 
publications of the Nister company and their book will now 
be published. The publication is being printed privately 
because it contains a large number of illustrations, more 
than commercial publishers were willing to accept. The 400 
or more pages of Peeps into Nisterland will have 1000 
illustrations and be issued in a limited edition of only 500 
(numbered) copies. The price for the hardback with cloth 
covers and an illustrated dust cover is £55.00 plus postage. 
While there has not yet been any publicity for the book, it 
appears that a many copies have already been ordered. The 
book is listed on European Amazon sites but. if you want to 
be guaranteed a copy, send your order (by mail only) to the 
publisher as soon as possible! 

Casmelda Publishing, 15 Warwick Road. Blacon, Chester. 
CHI 5BY, United Kingdom. 

Julia and Frederick Hunt, Peeps into Nisterland: A Guide to 
the Children 's Books of Ernest Nister. 0-9552 1 68-0-X. 

Pop-up Exhibit in Zaragoza, Spain 

Ana Maria Ortega, the active Spanish collector of 
movable books, and member of The Movable Book 
Society, is showing her collection in another exhibit (the 
fourth within just a couple of years). This exhibition 
includes some 120 copies, spread in time over several 
centuries, and is on display in the Espacio para el Arte 
Caja Madrid in the Spanish city of Zaragoza. 

A wide variety of themes is being exhibited. The books 
are in Spanish and other European languages. It is 
especially interesting to see some seldom shown, and little 
known, Argentinian editions that are included. 

Again there is a well 
executed catalog, Libros 
moviles y desplegables, 
with chapters on the 
history of movable 
books, their production, 
typology and chronology, 
and a full list of the titles 
on display. Illustrated in 
full color, it has an extra 
addition inside the back 
cover. By unfolding the 
end sheet there are 
pictures that illustrate 
the chronology of 
movable books. 

The exhibit Libros moviles y desplegables can be seen 
from February 17 until March 25, 2006 at the cultural 

Caja Madrid 

Plaza der Aragon, 4 

5004 Zaragoza. 

For information about obtaining a copy of the catalog 
send email to or write to: 
Ana Maria Ortega 
Calle Lisboa, 5 
34004 Palencia 

Movable and Toy Books Through the Ages 

December 10, 2005 - March 6, 2006 

Church Farmhouse Museum 

Greyhound Hill, Hendon, London 

A Clarification of the Current Marketing 

of Pop-up Books and Artistic Decisions 

in the World of Paper Engineering 

Robert Sabuda 
New York, NY 

I've recently noticed that there are some misconceptions 
in the pop-up community on how the current world of 
commercial movable book publishing actually works. 
Perhaps American and European publishers have different 
approaches, but here in the U.S. the goal of publishers is to 
sell as many books as possible. That may seem like a harsh 
assessment, since one hopes that many of those titles will be 
of high quality, but it is true none the less. One of the best 
ways to sell a book is to promote it. This is done in a variety 
of fashions and is different from publisher to publisher. A 
great way to promote a book is to offer signed copies at 
publishing events, such as the Bologna Book Fair, which 
specializes in the sale of foreign rights for children's books. 
A signed book not only allows the American publisher to 
offer a gift and make a personal connection to a foreign 
publisher, it lets European enthusiasts get free, signed pop- 
up books for their collections. It is also worth noting that the 
creators of these pop-up books have little or no say in how 
their books are promoted, especially overseas. 

Like any other form of artistic expression, the types and 
styles of commercial pop-ups created today are completely 
dependent on the artist's vision. The publisher does not 
dictate what the pop-up artist will create, the pop-up artist 
does. And what they create depends on where they are in 
their artistic life. If they are in their "blue period," they work 
in blue. If they are in their "white period," they work in 
white. Artistic vision can't be rushed and hurried onto a 
presumed next phase due to the short attention span of an 
audience. Artists create work to satisfy their own inner 
audience first, before anyone else. It sounds selfish, but 
that's how it's always been and hopefully will be for a long 
time to come. 


Q. I have a question about storing and displaying pop-up 
books. The ones that come with resealable bags are great 
since the bags are loose enough not to damage the book. 
However, I've found that, over time, shrink wrap around 
books actually continues to shrink and is especially 
damaging to the spine. I like to share my pop-ups with 
family and friends but need a way that I can get to them 
quickly and still protect them from dust. Does anyone have 
any suggestions? 

Caroline Leone 
Youngstown. Ohio 

Frankfurt Book Fair, continued from page 1 



Jack Tickle's series 
of Peek-a-boo Pop-ups, 
packaged by 
Caterpillar Books and 

published by Little 
Tiger Press, had two 
new titles: The Very 
Dizzy Dinosaur (1- 
84506-204-3) and The 
Very Busy Bee (1- 
84506-1632). Another, 
The Very Silly Shark, 
was announced. 

Trish Phillips illustrated The Big Old Bear who 
Swallowed a Fly (1-84506-222-1), a zany retelling of the 
classic nursery rhyme with pop-ups on every spread. Its 
sequel, The Little Fish who Cried Shark, by the same 
illustrator, was announced for 2006. 

Caterpillar Books also had on display the dummy of 
David's Dream Team / Zini's All Stars by Steve 
Smallmann and 
illustrated by Jan 
McCafferty, to be 
published in 2006. It is 
the story of David and 
his friends who are ace 
football players but 
don't have a ball (read 
from the front). They 
meet Zini and friends 
who need another 
team to play with 
(read from the back). 
In the middle there is 
a pop-up football 
finale complete with 
two straws and a ball to play a game of blow football. 

At the stand of the young packaging company SJG 
from Harpenden UK, Susanna J. Geoghegan showed me 
the nice, although still uncolored, dummies of three pop- 
up advent calendars for next year, featuring a Castle, a 
Church, and a Skating Scene, respectively. Her alliance 
with the English Heritage, that published her Slonehenge 
pop-up book last year, will be continued in 2006 with two 
new books My Life as a Knight (seven spreads) and My 
Life as a Princess (four spreads) with pop-ups, movable 
scenes, and fabrics. 

Tony Potter Publishing continues their series of large 
carousel books (My Garage, My Farm, Pirate Ship) with 
Castle: Pop-up and Play Fun! that opens out into a huge 

medieval castle of "terrific play value"(!) More original, 
however, is their Life on a Famine Ship illustrated by 
Brian Lee and Peter Bull, that teaches readers about the 
Irish famine through the journal entires of a child whose 
family leaves Ireland and sails to the US. The book 
includes pop-ups of the Dunbrody famine ship. 

The veterans David 
Wood and Richard 
Fowler pop up at Tony 
Potter'swith Underthe 
Bed! with a twisting 
Dad in a scary final 
pop-up scene. It also 
has a sequel It Wasn 't 
Me! A genuine, cute 
roundabout folds out of 
the carousel book 
Teddy's Birthday 
Surprise, illustrated 
and paper engineered 
by another veteran, Linda Birkinshaw. 

The packaging company of Lenz-Mulligan - new to 
me - showed the dummy of Giant Animals, a carousel 
book with four stage-like compartments, that show the 
animals of the deserts, the arctic world of ice and snow, 
the jungle, and the mountains. And another pentagonally- 
shaped book, Dinosaur World, opens out into a four- 
compartment carousel showing the creatures of the 
Triassic, the Jurassic, the early, and the late Cretaceous 
period. It is nicely done but has few surprises in either the 
subject or the paper artwork. 

To end this part of my contribution, it was a pleasure 
to see another new Keith Moseley pop-up carousel book 
at Key Porter Books: The Horrors in the Haunted House 
(1-55263-545-8). Mr. Moseley, now in his eighties, 
appears to be still active in the field as he has been for 
almost 60 (!) years, having starting just after World War 
II. Without ever coming into prominence, since almost all 
the books he paper engineered until the mid- 1 960s didn 't 
even mention his name, he, nevertheless, has put his mark 
on the post-war history of pop-up books like no other 
paper engineer of his time. I was happy to see that in fall 
2006 Handprint plans to issue a new edition (new cover 
and endpapers) of his book The Bible Alphabet, published 
previously by Broadman & Holman. 

Other novelties 

As always, I saw at the fair many new items that, 
though not movable nor pop-ups, will prove to be very 
desirable for collectors of movable and three-dimensional 
books. Workman, for example, had on display My 

Grandpa 's Briefcase 
(0-7611-3794-7) by 
P.H. Hanson, the 
sequel to their well- 
loved My Granny 's 
Purse published in 
2003. Filled with 25 
activities, 60 
interactive objects, 
mementos, life 
lessons, and 
educational games, it 
is a treasure chest of 
wisdom and surprises to be shared by grandpa's and their 
grandkids. It has an initial publication run of 100,000! 

Tomi Ungerer is probably best remembered by 
grandparents who read his picture books to their children 
in the 1960s and 1970s. His picture books Crictor, Moon 
Man, Tire Hal , and the then-disputed Zeralda 's Ogre and 
The Beast of Monsieur Racine, were very popular in those 
days. Blue Apple Books 
is issuing a remake of 
one of his concept 
books, first published 
in 1962, Snail, WJiere 
are You? (1-59354- 
096-5) in an innovative 
lift-the-flap format. It 
is great fun to find the 
snail in his many 
disguises. First shown 
as a white snail cut into 
a black flap it proves to 
be part of a larger 
iconic picture when the 
flap is opened. 

Another peepshow will be published by Joan Sommer's 
Tunnel Vision Books. After the success of last year's 
book based on the famous Seurat painting A Sunday on La 
Grande Jatte, done for the Chicago Institute of Art, she is 
now working with a Washington-based museum to 
produce a peepshow-transformation of one of the famous 
jungle pictures by Henri Rousseau, le Douanier. A French 
edition of it will be published in Rousseau's homeland by 
Gallimard Jeunesse in Paris. 

Also new at the Fair was the young packaging 
company Smart/nA. remarkably based in Brooklyn, NY; 
Malibu, CA; and Stavanger. Norway. They showed a nice 
innovation using ever-increasing lengths of ribbons on 
subsequent pages of a book, first seen in Betty Ann 
Schwartz's What Makes a Rainbow published by 
Intervisual in 2000. She appears to have developed the 

idea further now by printing pictures on the ribbons as 
seen in her new book From One to Ten and Back Again. 
A large book (30 x 16 cm.), illustrated by Susie Shakir, it 
is first read forwards, from one little duckling to ten little 
fish and then is turned over to be read from ten to zero! 
This innovative technique of (full color) printing on 
ribbons expands the possibilities of the design and is 
shown in two other titles offered by Smartink: Martin 
Kelly's Attic-o-Saurus illustrated by Richard Watson, and 
I'm Building Me a Robot by Ann Tobias and illustrated, 
once more, by Susie Shakir. Both include six spreads with 
printed ribbons that let kids reveal, layer by layer a robot 
and a dinosaur. These are fun books that will be a nice 
surprise the for kids - as they were for me. 

Especially attractive to 
me this year were the 
books with optical 
illusions, and several 
packagers and publishers 
had new ones at this year's 
Fair. I love them and 
never can get enough of 
them. Norman Messenger, 
who has published several 
humorous mix-and-match 
books, surprises with his 
Imagine (0-7445-9202-X) 
from Walker Books. This 
wonderful collection of 

illusions and visual tricks, with picture puzzles, topsy 
turvy heads, etc. makes you look at the world with other 

New York's 
Metropolitan Museum of 
Art explores the optical 
illusions found in their 
collection and brings them 
together in an interactive 
book Eye Magic: Visual 
Trickery in Art, published 
in cooperation with 
It has a pop-up zoetrope 
that animates still images; a stereoscope that makes 2D 
images appear in 3D; shows the use and misuse of 
perspective by artists (e.g. trompe Toeuils); examines 
Pointillism, and is packed with a flip-book, a moire 
screen, zoetrope strips and more in a pull-out drawer. 

Thames & Kosmos brings Mind's Eye: Optical 
Illusions and Human Perceptions, a kit with 94 
experiments to explore the fascinating ways your brain 
and eyes work together to perceive color, light, depth, 
perspective, size, shape, and motion. It includes a manual. 

rotating disk, motor, solar cell, prisms, lenses, colored 
glasses, and lots of other paper toys to experiment with. 
Discover for yourself why your movable books move! 

Red Bird Press, 
Colchester U.K., publishes 
what for collectors may be 
most interesting book (and 
with a price of only £9.99, 
the least expensive), Optical 
Trix TV' Kicks: The Box of 
101 Illusions (1-902626-29- 
X). A sturdy cardboard box 
contains the guide book 
Xperiments & Xplanations 
and a wealth of paper toys 
that illustrate all kinds of 
illusions demonstrating how our brains interpret visual 
information. The book is full of intriguing visual puzzles 
and enigmatic pictures; "impossible" structures to create; 
topsyturvy cards; a myriorama; anaglyphs (with red-and- 
green glasses); a flip book; instructive sheets for hand- 
shadows; "moving" pictures that don't move; etc. I 
couldn't resist it and played with it for a long time at the 
Fair! By the way, Red Bird Press touts itself as 
specializing in "Amazing children's books." Each series 
features special effects such as full color 3D, 3D 
stereoscopic, secret specs to hide and reveal, glow in the 
dark, etc. They also had the most desirable, interactive 
catalog at this year's Fair, offering examples of all the 
techniques in their books including several kinds of 
glasses to view the effects. 

Books from Outside the Anglo Saxon World 

South Korea, this year's special guest of the Fair, 
showed the development of modern Korean picture books 
in a beautiful exhibit, accompanied by no less than two 
great, and extensively illustrated, publications on the 
theme. However, there were no Korean movable or pop-up 
books. And the same can be said about most of the non 
Anglo Saxon countries. 

At the stand of one publisher from the former Soviet 
Republic, I think it was Ukraine, I saw one single pop-up 
book. Unfortunately it was written in a language that I 
couldn't read but it was strongly reminiscent of the 
"playsets" with a pop-up scene, a built-in track and a 
wind-up toy (here a strange little boat-on-wheels) as 
Intervisual introduced with Little Choo-Choo, The 
Christmas Express, and others. It was done in such 
melting colors and was so heavily varnished that no one 
will regret not having the opportunity to include it in his 

Kibea Publishing from Sofia, Bulgaria showed a 

modified dummy of Anton Radevsky's The Wild West 
Pop-up Book that will be published in 2006. The artist 
himself attended the fair and was kind enough to 
demonstrate his gem to me and to show me the paper 
engineering details of his new book. He also showed me 
the designs of some new pop-up books for the years to 
come but asked me not to publish anything about them yet. 
During a nice dinner with him and his publisher we 
discussed other possible future pop-up books and he was 
very open with me about the process of how his pop-up 
books come into existence, the problems that they present 
and how he solves them. It was an informative look 
behind the scenes and a very nice evening indeed. 

The only other 
European country 
that now produces 
movable and pop- 
up books of 
interest, albeit 
even on a modest 
scale, appears to 
be France. A cute 
book is 

L ' Anniversaire 
d 'Oscar (Oscar's 

Birthday 2-02-067893-4) by 
Etsuko Watanabe. published 
by Seuil Jeunesse. The 
publisher is also issuing the 
first European edition of 
Robert Sabuda's Wizard of 
Oz: Le Magicien d'Oz (2- 

The author/illustrator 
Kimiko continues her 
pleasing series of theater 
books for very young 
children with bold, attractive 
graphics published by 
L'Ecole des Loisirs. This 

spring her version of 
Andersen's fairy tale 
La Petite Sirene (the 
little mermaid) and 
La Petite Poule 
Rousse (the little red 
hen) will be followed 
in fall by both Le 
Chat Botte (Puss in 
Boots) and Cendrillon 

The only French 
company that is 

developing its own catalog 
by giving young artists the 
opportunity to design pop- 
up books, appears to be 
Casterman. I spotted some 
eight new titles at their 
Frankfurt stand, most 
were rather simple, but for 
the stories, surely effective 
movements and/or pop- 
ups. Among them was a 
humorous shaped book 
with pull-tabs by Cyril 
Hahn, A Quoi Tu Joues, 
Boubon? (what are you 
playing, Boubou?) about a little African boy who cannot 
sleep and goes out to play hide-and-seek with the animals 
in the jungle. Unfortunately, he meets only the greedy 
animals of the night like a panther, a python, a bat and a 
spider that just want to play hide-and-eat Boubou. Cyril 
Hahn also wrote, designed, and illustrated Les 3 Petils 
Cochons (the three little pigs), a pop-up book about how 
Wolf uses heavy metal against the little pigs that once 
ridiculed him. In Corinne Albaut's Quelle est ta Couleur? 
(what's your color?), illustrated by Virginie Guerin, the 
child can help elephant, serpent, frog, pig and chameleon 
get back their own colors by the pull of a tab. In my 
opinion, the best pop-up and pull-tab book of the series is 
Oil es-tu, Monsieur Sommeil? (where are you. Wee Willie 
Winkie?) by Virginie 
Guerin. In this book the 
little crocodile Rocky 
cannot get to sleep and 
is afraid that the 
dustman has forgotten 
him. So he goes out in 
the jungle to find him. 
But by loudly shouting 
his name, he awakens 
all the animals in the 
jungle - great fun. 

Casterman also publishes Une Grand-mere un Peu 
Sorciere (a grandma a bit witchy) by Nathalie Dieterle. a 
book with built-in shadow theaters and a small lantern. It 
is a concept that was developed by the young Paris-based 
packager Holinail, that specializes in all kinds of novelty 
children's books, including pop-up books. Last year they 
brought out the novelty of the Moovie Book. Interesting 
this year is their book that records the voice of the reader, 
as found in a first title, Le Petit Chaperon Rouge (little 
Red Riding Hood), offering the child the possibility of 
hearing you read the story as many times as she likes by 
just pressing a button found on every page. A first pop-up 
book, still with just simple cut and fanfolded scenes, was 
on display: Le Grand Livre Anime de la Famille Passiflore 

UmS > 

JN p3 J 

(the great pop-up book 
of the Passiflore 
family) by Genevieve 
Huriet, with press-out 
characters that can be 
inserted into the 
scenes. It is not too 
spectacular yet, but it 
is a promising pop-up 

Last, but not least, 
is a very nice little carousel book of Le Petit Prince (the 
little prince) designed and paper engineered by Gerard Lo 
Monaco, a designer who until now has worked mainly for 
the music industry. (A profile of him appeared in the 
February 2004 issue of Movable Stationery.) A cute 
"traditional" carousel book of five compartments with a 
ribbon tie to hang it, will be published by Gallimard 
Jeunesse in 2006 commemorating the 60" 1 anniversary of 
Antoine de Saint Exupery's classic, philosophical 
children's book first published in 1946. 

The homeland of 
the Fair, Germany, 
was again 
conspicuous by its 
absence in the field 
of pop-up or 
movable books, like 
it has been for some 
years already. 
Companies like 
Carlsen Verlag, 
Coppenrath and Ars 

Edition, in the past active with (partly self-designed) pop- 
up books, seem to have given up the production of these 
books. The only professional German paper engineer, 
Antje von Stemm, published a new picture book with 
Random House, but it is without any three-dimensional 
paper artwork. And Martin Graf (Edition 8x8, Hamburg) 
offered some new funny DIY movable cards but had no 
new pop-up books. However, there appears to be new hope 
since Mr. Graf told me about a young German paper 
engineer, Mrs. Luise Kolpin from Schwerin, who had 
shown him the dummy of a pop-up book for which she 
tried to interest publishers at the Fair. Though she had left 
her card for me (with a small pop-up), I have not yet 
succeed in getting in contact with her. 

Another young German paper engineer 1 was lucky to 
meet at Mr. Grafs stand was Maike Biederstadt. a trained 
artist living in Berlin. 1 had a nice chat about how she 
came to design a movable book by studying the antique 
movable books of Lothar Meggendorfer in the 
Staatsbibliothek in Berlin. She showed me the dummy of 



her first movable book Popp-Up. Ein Erotisches Pop-Up 
Buch (Popp-Up: an erotic pop-up book - the double "p" 
reminiscent of a dirty German verb). She was curious to 
hear my opinion and eager to get tips about who to contact 
or show it to in order to get it published. Fully unprepared, 
your reporter found himself in the rather compromising 
situation of sitting side-by-side with a beautiful young lady 
showing me a movable book full of her erotic fantasies on 
six pull-tab pages with lift-the-flaps, and pop-ups. I have 
to confess that sometimes a blush colored my cheeks and 
that I anxiously looked around trying to avoid being seen 
by a serious business contact who might pass by the stand 
and see me there. Otherwise, I must admit that Mrs. 
Biederstadt has studied Meggendorfer's mechanisms very 
well and has smoothly and successfully recreated all kinds 
of human movements in her dummy. She even copied 
Meggendorfer's curling rivets by using thin silver threads 
for the turning points. For sure, it is a great new movable 
book on a daring subject done in a modern, open way. It 
deals with sexuality in a way one would expect from 
today's youth. I really hope the book will be published and 
I gave her the names of packagers and paper engineers to 
show her design to that might be able to help her find a 
publisher. I will be curious to hear if an American 
publisher (usually necessary to get any pop-up book 
published) will be liberal enough to place this book on its 


At the beginning of the first part of this contribution I 
promised to give my opinion about the tenableness of the 
suggestion a Newsweek journalist posed last September in 
his article about David Carter's One Red Dot stating that 
pop-up books are increasingly migrating onto mom and 
dad's coffee table. It surely holds for the reviewed David 
Carter book and also for the works of Robert Sabuda, but, 
I think they are the exceptions rather than the rule. 
Looking over all the new pop-up books at the 2005 
Frankfurt Fair you can only say that the vast majority of 
published pop-up books still are produced to serve the 
kiddie shelf (and our collections). The part of the 
production aimed at an adult readership is, to my opinion, 
actually decreasing. In the 1990s there were more 
published titles that could be considered to be coffee table 
books. Think of the wonderful packs designed by Ron van 
der Meer and his imitators. Nowadays, the number of 
published titles is much smaller than at the height of the 
second Golden Age of pop-up books. But, the books are 
also increasingly elaborate and sophisticated and surely 
almost exclusively aimed at their original readership, the 
young child. Just one or two titles a year reach to the 
coffee table - or beyond, as shown in Maike Biederstadt's 

However, here's a tip 
for the collector who 
wants to get a book for his 
own coffee table. I found 
in Frankfurt the reprint of 
the coffee table book par 
excellence: Damien 
Hirst's / Want to Spend 
the Rest of My Life 
Everywhere with 
Everyone, One to One, 
Always, Forever, Now(l- 
861514-279-8). It was 
issued in a reduced format but is still illustrated in full 
color, with the 8 pop-ups, 4 gatefolds, die-cuts, special 
features, and with the magnifying glass attached. And it 
was for sale at the affordable price of SI 00.00 (U.S.). But, 
if you really want to show off, you'd better order a copy of 
the limited, signed first edition published in 1997 that is 
still available for $2,290.00! 



September 14 - 16, 2006 
Chicago, Illinois 

Make plans now to attend 
The Movable Book Society Conference 

Participate in workshops, 

listen to presentations, 

buy and sell books, enjoy good food, 

and meet new friends 

who share your enthusiasm. 

It will be a memorable event! 


Scholarly Attention to Pop-up Books 

Theo Gielen 

Nina Starosther finished her studies last July at the 
University of Erlangen, Germany in Book Sciences with 
the publication of her "Magisterarbeit" (thesis) Pop-up- 
Biicher. For this study she researched the various 
mechanisms used in modern pop-up books: the production 
process, the manufacturing costs, and how they influence 
the final price of the books; the role played by 
international coedition and licenses; and how these special 
books are marketed. 

Based on the thesis bibliography of all of the pop-up 
books published in German-speaking countries since 
1 970, she researched and quantified the position of pop-up 
books in the book market as a whole, and which 
publishing houses are and have been involved. It is a very 
nice study that provides good insight into the past 35 years 
of the German language pop-up. 

Nina Starost, Pop-up-Bucher : Buchwissenschaft / 
Universitat Erlangen -Niirnberg, 2005. ISBN 3-9809664- 
4-5. Alles Buch. Studiender Erlanger Buchwissenschaft, 
XIV. 109 p. 

The complete publication and a profile of the author 
can be found at the university website: www.buchwiss.uni- 

Another publication about pop-up books is in 
preparation at THF Berlin (University of Applied 
Sciences), faculty of Printing and Mediatechnology, by Ina 
Zawadzki. For her thesis she is researching the more 
technical sides of the production of pop-up books and 
paper engineering as practiced nowadays by German 
publishers. She is, therefore, studying the processes of pre- 
press, printing, cutting, gluing and assembling; the use of 
different kinds of paper for the various elements of a pop- 
up book; and questions relating to the technical properties 
of the paper used by the paper engineers and how they 
work. It is not known when the study will be finished or 

Very promising, also, appears to be the dissertation 
that is being prepared by Anne-Sophie Baumann at 
Universite de Villetanteuse (Paris). Her working title isle 
livre anime. un objet ciillurel de I 'enfance, entre livre et 
jouet, de 1830et 1 960 (the movable book, a cultural object 
of youth between book and toy, from 1830 till I960). It 
sounds very ambitious and makes lovers of movable books 
curious to see the results of her study. She plans to 
research as many movable books as possible published in 
France, from Le Livre Joujou (about 1 830) through the 
artists' books of the 1960s. Since the history of movable 
books in France has not yet been studied, she is preparing 

the first list of all the movable and three-dimensional 
books from the period published in France. A next step 
will be to find copies of the books to study. She anticipates 
it will take several years to finish her dissertation. 
Meanwhile, she is a contributor to the French website on 
movable books 

McDonald's Pop-up Books 

Between December 15, 2005 and January 12, 2006 
McDonald's Happy Meals and Mighty Kids Meals 
included an articulated Chronicles of Narnia character 
and a small pop-up diorama. The books are: 

1 . Lucy Pevensie and the Wardrobe 

2. Mr. Tumnus and his Home 

3. Edmund Pevensie and the Wliite Witch 

4. Mr. Beaver and his Home 

5. The White Witch and her Castle 

6. Susan Pevensie and the Wolves 

7. Asland and the Return of Spring 

8. Mr. Beaver and his Home 

On the Web includes many pop-up nativities and 
toy theaters. Examples from The Bienes Center Kubasta 
Pop-up Creche Collection can be seen at: 
Conteudo&pa=showpage&pid=T03. A future article will 
focus on these collections. 

Listen to Robert Sabuda describe his work at: 
sp?PID= 1 302&. Browse "Meet the Writers" for audio and 
textual copies of the interview. may become a useful site 
for pop-up collectors. Their goal is to be "The research 
tool for art, antiques & collectibles." While it does not yet 
include many pop-up books, it includes over 20 million 
records from GoAntiques, eBay, and TIAS and can be 
used as an identification and price guide. There is a 
monthly fee for access to the site. 

Harry Faber van der Meulen has opened 
Popupbookshop. a small store specializing in movable 
books in Dordrecht, The Netherlands. Some of his stock is 
available online at 

Books2Eat is an international book festival that takes 
place on April l sl throughout the world. Are edible books 
movable books? Decide for yourself at 


Catalogs Received 

Aleph-Bet Books. Catalogue 80. 85 Old Mill River Rd. 
Pound Ridge, NY 10576. Phone: 914-764-7410. Fax: 914- 
764-1356. Email: 

Jo Ann Reisler, Ltd. Catalogue 73. 360 Glyndon St., NE, 
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057. 


B auernhofkarussel. 

Pop-up Buch. By 

Andreas Schneider. 

EUR 9,12. 

Parragon Koln 


Stella Books. Pop-up List. 1 .htm 

New Publications 

The following titles have been identified from pre- 
publication catalogs, Internet sources, bookstore hunting, 
and other advertising. All titles include pop-ups unless 
otherwise noted and are listed for information only - not 
as recommendations for purchase. 

A Quoi tu Joues, Boubou? By Cyril Hahn. 
Editeur: Casterman. EUR 14,50. 16 pages. 
28 x 2 x 37 cm. 2-203-10980-7. 


Beach in a Box. $6.99. 
Andrews McMeel. [Kit 
includes a 3-D pop-up 
beach scene, a bag of white 
sand with tiny shells, and a 
booklet with beach trivia.] 

David's Dream Team; and, 
Zini's All-stars. Little Tiger. 

Dinosaur Kisses. Piggy Toes 
Press. S9.99. 8x 10 inches. 

Encyclopedia Prehistorica 
Sharks and Other Sea Monsters: 
The Definitive Pop-up. By 
Robert Sabuda and Matthew 
Reinhart. April. 12 pages. 
$27.99. Candlewick. 

The Big Old Bear Wlio Swallowed Fly. 18 pages. £7.99. 
Little Tiger Press. 1-845-06222-1. 

Eye Magic: Visual Trickery in Art. by Metropolitan 
Museum of Art. $19.99. 48 pages. Barrons Educational 
Series. 0-7641-7869-5. 

The Crunching 
Caterpillar. SI 5.95. 
Tiger Tales. 

(:t- ar } :; % 

by Ruth Galloway 

Fidgety Fish: A Pop-up 
Surprise Inside. $6.95. 1 6 
pages. Tiger Tales. 714 x 7 
inches. 1-589-25772-3. 


Giostra dell a 
Buonanotte. By Tony 
Wolf. Giunti Editore, 
Florence, Italy. EUR 
19,90. [Rotates at the 
sound of a jingle. Four 
small books are 
incased In the 
partitions between the 
carousel horses.] 

Les 3 Petits Cochons: 
Livre Anime. By Cyril 
Hahn. Francais Editeur: 
Casterman. EUR 14,50. 
14 pages. 26 x 2 x 26 cm. 

Knock, Knock, Wlxo 's 
There? $10.95. 
Intervisual Books. 12 
pages. 11x9 inches. 

Imagine. 32 pages. 
£12.99. Walker Books 
Ltd. 0-744-59202X 

Life on a Famine 
Ship: A Journal of 
the Irish Famine, 
1845-1850. £12.99. 
Gill & Macmillan. 

L'anniversaire d'Oscar. By Etsuko Watanabe. Francais 
Editeur: Seuil. EUR 12,00. 8 pages. 29 x 1 x 26 cm. 

La Petite Sirene. By 

Kimiko. L'Ecole des 

Loisirs. EUR 12,00. 12 

pages. 21 x 2 x 23 cm. 



Le Chat Botte. 


La Petite Poule Rousse. 




Le Grand Livre Anime de la Famille Passiflore. Francais 
Editeur: Milan. EUR 15.00. 12 pages. 27 x 3 x 25 cm. 
2-745-9 1569-X. 

Mon Livre Anime des 

Petites Betes. EUR 

14,00. Editeur: Milan. 

23 pages. 

25 x 2 x 24 cm. 



Mon Livre Anime des 



Ou Es-tu. Monsieur 
Sommeil? By Virginie 
Guerin. EUR 14,50. 
26 x 2 x 26 cm. 
Casterman. 20 pages. 
2-203- 13898-X. 


Noah's Ark. Baby's First 
Pop-up. April. $15.95. 
Brighter Child Interactive. 

One Snowy Night. Templar. 
£8.99. 1-84011-627-7. 

Quelle est ta Couleur? By 
Corinne Albaut. Casterman. 
EUR 14,50. 12 pages. 
26 x 3 x 26 cm. 

Princess Palace. Templar. £12.99. 1-84011-235-2. 

Scary Clowns. [One pop-up 
clown in the center.] 
Andrews McMeel. $14.95. 
1 28 pages. 4Vi x 6 X A inches. 

Snail, Wliere are You? Blue Apple Books. 24 pages. 
$12.95. 1-593-54096-5. 

Snappy Sounds Rock 
& Roll! SI 2.95. 10 

Silver Dolphin. 

moist Pof-yf ;-■«;! 


Monster Mix-up. May. 12 pages. Piggy Toes. SI 1.95 

Oe&Me Tsrfi2« 

Ten Tiny Tadpoles, ["a 
pop-up page at the end."] 
24 pages. £7.99. Little 
Tiger Press. 

Time for Bed. Playful 

Pops. By Jo Lodge. April. 

12 pages. £3.99. 

Macmillan Children's 

Books. 1-405-05419-0. 


Time for Nursery. 


Time to Help. 


Time to Play. 1-405-05422-0. 

Top-Secret Area 
51: The Truth Is 
In Here! May. 

Publishing. 32 
pages. S6.99. 

Une Grand-mere un Pen Sorciere. By Nathalie Dieterle. 
Casterman. EUR 16,50. 12 pages. 30 x 2 x 26 cm. 

Under the Bed! 18 pages. 
S9.99. 0-7641-5926-7. 

Barron's Educational Series. 

We 're Bored! Piggy 









SEPTEMBER 14 - 16 

U . S . A 
2 6 

3 9088 01629 3144 

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Registration and payment postmarked by Wednesday, August 16, 2006 (circle choice) 
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The conference hotel is Chicago's Essex Inn located at 

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The hotel conference price is $129.00 for single rooms or $139.00 for double occupancy. 

Conference room rates are available, space permitting, until August 24, 2006. 

Be sure to mention that you are attending The Movable Book Society Conference to get the conference rate. 

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Conference registration refunds are available until September 13, 2006. 

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